Summer School 2: The Summer of Our Discontent
by Wild Pikachu
Summary: Brooke's "journey" continues, while an arrest is made in the case; After getting unexpected financial help, Lily discovers that Josh is keeping something from her, and becomes suspicious of Mary Cherry's circumstances.
1. Teaser

**Notes:** _(Re-edited and re-uploaded September 2010)_

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**Guest Cast:**  
Clarence: Mike Damus  
Det. Cavanaugh: Nick Mancuso  
Devenport: Lawrence Pressman

* * *

**Formatting:** The main differences between the way the episodes are presented here and true script format are that on , everything is left-justified, while script format has specific block-margins for dialog, etc., and that scripts are still traditionally printed in Courier (monospace) font. These episodes are also available on my Popular website (link is in my info) if you would like to read them as though they were printed scripts.

**Legal whatchamacallit:** Pre-existing "Popular" characters and situations are 1999-2001 Touchstone Television, et al. For what it's worth, original material is 2001-2010 by yours truly, the Wild Pikachu. Please don't steal this without asking first.

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**POPULAR: SUMMER SCHOOL**

**"THE SUMMER OF OUR DISCONTENT"**

**TEASER**

FADE IN:

INT. A ROOM

ANGLE: MARY CHERRY

lying on her back.

POV: MARY CHERRY

As the world swims into focus, she sees Sweet Honey Chile  
grinning down at her.

Mary Cherry shrieks, and discovers that her wrists are  
handcuffed to the headrail of the bed she's lying on.

MARY CHERRY  
(wailing)  
WHAT DO YOU WANT WITH ME?

Sweet Honey Chile laughs maniacally.

SWEET HONEY CHILE  
Since my 's back wit' her  
mama, I need my own babygirl to  
take care of. And you is it,  
honey! From now on, you be Mary  
Honey Chile!

Mary Cherry screams again, and—

CUT TO:

INT. A HOSPITAL ROOM

Mary Cherry is (actually) laid out on a hospital bed, wrapped  
in a straightjacket, screaming her head off, while a doctor  
and Cherry Cherry look on from behind a window.

DOCTOR  
Frankly, Mrs. Cherry, we have no  
idea what's going on inside your  
daughter's head.

CHERRY CHERRY  
Well, hell's bells, Doc, that's  
not news! I NEVER know THAT!  
What the hell am I payin' you  
people for, anyway?

DOCTOR  
We'll run some tests, but—this  
could take a while.

CHERRY CHERRY  
(snapping)  
Just find out what's wrong with  
her! And keep it quiet! Lord  
knows, she's enough of an  
embarrassment, without bein' a  
loon, too.

WHITE OUT.

**END OF TEASER**


	2. Act One

**ACT ONE**

FADE IN:

INT. BROOKE AND SAM'S BEDROOM - NIGHT

Harrison is lying on his back on Sam's bed, while Sam has  
climbed on top of him and is kissing him feverishly.

HARRISON  
(between kisses)  
Sam— Sam, hold on—

Ignoring him, she moves down to his neck, stripping off his  
bow tie and beginning to unbutton his shirt.

HARRISON (CONT'D)  
Sam, wait...

Finally he resorts to grabbing her by the arms, and physically  
lifting her up and off of him.

SAM  
(confused)  
What?

HARRISON  
(sitting up)  
This...it's—it's not right.

SAM  
Harrison, I'm throwing myself at  
you.

HARRISON  
Yeah, and...that's not right.

Sam props herself up on one elbow.

SAM  
It's...it is ME? Am I just  
totally repulsive?

Harrison makes an expression of disbelief at her.

SAM (CONT'D)  
You're not the first guy to get to  
this point, and just stop.

HARRISON  
Sam, we're both under a lot of  
stress because of Brooke, and...  
Look, this...it shouldn't be like  
this.

SAM  
(muttering)  
You didn't have any complaints  
about Brooke.

HARRISON  
(sighs)  
With Brooke, it...just happened.  
(pause)  
I don't want it to "just happen"  
with you.

He looks down at her, and finally she nods, rubbing her eyes  
tiredly.

HARRISON (CONT'D)  
So...

She grabs at his arm.

SAM  
Wait... Just—just hold me, okay?  
I...I just... I don't think I  
can be alone right now.

Harrison lies back down and puts his arm around her, while she  
snuggles into his chest.

DISSOLVE TO:

INT. HOSPITAL LOUNGE - MORNING

Slivers of lights streak in from around the venetian blinds on  
the windows. Mike and Jane are both asleep on a sofa; a nurse  
comes in and taps Mike gently on the shoulder.

NURSE  
Mr. McQueen?

Mike starts awake.

MIKE  
What—?

As he orients himself, his eyes focus on the nurse, and his  
expression becomes alarmed.

NURSE  
(reassuringly)  
She's stable. It's seven o'clock.

MIKE  
Oh—  
(breathes)  
Can I see her?

NURSE  
(nodding)  
For a minute.

He gets up gingerly, so as not to wake Jane, and follows the  
nurse out.

CUT TO:

INT. BROOKE'S CUBICLE

Mike looks at Brooke's still form for a moment through the  
glass wall, then steps inside. If anything, she is hooked up  
to more machines than before. He stands at her bedside and,  
reaching down, finds her hand, squeezing it tight.

FADE TO WHITE.

EXT. A PARK - DAY

Brooke is walking aimlessly around on the grass, with Clarence  
watching from nearby.

BROOKE  
(clapping her hands together)  
Okay! Let's do it!

CLARENCE  
Brooke...

BROOKE  
Come on, I don't see anything  
happening here!

CLARENCE  
Brooke, you can't just—

BROOKE  
You said it was up to me to  
decide, and I'm deciding. I wanna  
go home now!

CLARENCE  
It's not exactly that simple.

BROOKE  
Why not? I want to wake up now.  
I want to wake up, and—and make  
Harrison tell me why he chose Sam,  
and...rip Nicole's throat out!  
Come on! I've made my choice—beam  
me up, Scotty!

CLARENCE  
Brooke, I'm trying to tell you...  
You don't REALLY know.

BROOKE  
Oh, I know! Believe me, I know!

She clasps her hands tightly in front of him.

BROOKE (CONT'D)  
See this? This is me putting my  
hands around Nicole's neck, and  
squeezing until her eyes bug out

Clarence puts up a placating hand.

CLARENCE  
Okay, Brooke, you're a little  
amped right now, but—

Brooke spreads her arms and spins around expectantly.

BROOKE  
(calling out)  
Hey! I'm ready to go! SOMEONE  
GET ME OUTTA HERE!

Clarence sighs, and rubs his eyes.

CUT TO:

INT. BROOKE AND SAM'S BEDROOM - MORNING

Harrison opens his eyes, and looks down to see Sam curled up  
asleep, her head on his chest. Absently he strokes her hair.  
A few moments later, there are slight noises from outside, and  
Jane appears in her open doorway. Harrison raises his free  
hand in greeting. She takes in the scene, and makes a motion  
indicating "downstairs". Harrison nods in understanding, and  
Jane moves on. Slowly, he extricates his arm. Sam stirs, and  
opens her eyes.

SAM  
(sleepily)  
Hmm?

HARRISON  
Shhh.

SAM  
Harrison?

HARRISON  
I'm here.

Sam lifts her head and looks around.

SAM  
It's morning.

HARRISON  
Mmm-hmm. Your mom's home.

SAM  
Did she—? How did she look?

HARRISON  
She looked... I mean, not like—

Sam nods, and rolls over onto her back.

SAM  
(starting to cry)  
Why? Why did this have to happen  
to her?

Harrison reaches over and brushes a tear away from her cheek.

HARRISON  
She'll get better. She will.

Sam looks down at herself—still in her prom dress.

SAM  
I guess I...I should change.

HARRISON  
(nods)  
I'll—be downstairs.

Harrison gets up and walks out.

CUT TO:

EXT. A PLAYGROUND - DAY

Brooke walks up and sits glumly down on one of the swings.

BROOKE  
So, what am I doing wrong?

Clarence sits down on the swing next to her.

CLARENCE  
I told you—you don't really know  
yet what you want to do.

BROOKE  
You keep saying that, and I keep  
telling you, I do know!

CLARENCE  
(shakes his head)  
There's a difference between  
knowing—  
(points at her head)  
—and knowing.  
(points at her heart)

BROOKE  
I don't get it. How am I supposed  
to know, then?

CLARENCE  
You'll know. When you know,  
you'll know.

Brooke throws him a sideways glance.

BROOKE  
You know what you sound like,  
right?

CLARENCE  
(shrugs)  
Hey, you get all spiritual, and  
things get fuzzy. It's like an  
occupational hazard.

He gets off the swing and steps behind her.

CLARENCE (CONT'D)  
What you need, is a little more  
fun.

He grabs her swing and pulls her back.

BROOKE  
(nervously)  
Oh, hey, hang on, I never liked  
swinging, no, wait, don't push me  
hiiiiii—!

She trails off into a shriek as Clarence pushes her skyward.

CUT TO:

INT. MCQUEEN KITCHEN - LATER

Harrison is on the phone when Jane comes down the stairs in a  
robe and towel.

HARRISON  
(into the phone)  
...yeah, I'll be home soon...  
Okay...

He hangs up the phone, and notices Jane standing there.

HARRISON (CONT'D)  
I was just calling my mom.

JANE  
I hope she wasn't worried.

HARRISON  
(shaking his head)  
I told her last night I probably  
wouldn't be home.  
(gestures)  
I made coffee.

JANE  
Oh—thanks.

She pours herself a cup, and then turns back to him.

JANE (CONT'D)  
Harrison—thank you. For taking  
care of Sam.

HARRISON  
I'd do anything for her.

JANE  
(laying her hand on his arm)  
She's very lucky to have you.

Sam comes down the stairs, in fresh clothes.

SAM  
Mom?

JANE  
She's "critical but stable".  
Whatever that means.

HARRISON  
No, that's good—that means she's  
not getting any worse.

JANE  
Mike saw her for a bit before I  
left. He's staying there until  
someone can take over...Sam?

SAM  
(nodding)  
I'm on it. Are you gonna be okay?

JANE  
I actually slept for a couple  
hours. I'm gonna get dressed, and  
get Mackenzie.

SAM  
Are you sure you don't want me to  
watch her? I mean—

JANE  
No, it's okay. Mrs. Braxton  
agreed to take her this afternoon.  
You go get to the hospital.

SAM  
Okay.

Jane takes her coffee cup and heads back upstairs.

Before Sam or Harrison can do anything else, Carmen rushes up  
to the kitchen doors, knocking and entering in one motion.  
She runs up and hugs Sam.

CARMEN  
Sam! Oh, my God! My mom went to  
bed before I got home last night,  
and she didn't give me the message  
until this morning!

She looks from Sam to Harrison.

CARMEN (CONT'D)  
Is...is it really bad?

SAM  
(downcast)  
Yeah...it's bad. She's in ICU.

CARMEN  
Ohh, no, Sam...

SAM  
Hey, can I ask you...you know  
what's going on with Josh and  
Lily?

CARMEN  
Oh, you mean, Miss Glass making  
them do yard work?

HARRISON  
(shaking his head)  
Wait...isn't that—?

SAM  
—illegal. Carm, Harrison, I need  
you to do me a favor. I need you  
to go to the hospital, and keep an  
eye on Brooke. I have to go do  
something.

CARMEN  
Uh, ah, sure...

SAM  
Thanks.

Sam grabs her bag from the kitchen table and rushes out the  
door.

HARRISON  
Uh, Sam, do you—?

But she's already gone, leaving him and Carmen to exchange  
bewildered looks.

CUT TO:

EXT. NICOLE'S CAR

At the edge of the lot, Nicole's car is sitting atop a downed  
section of chain-link fence. Inside, Nicole is slumped back  
in the front seat, passed out. A police cruiser pulls up  
behind, and another joins it a moment later. The two officers  
get out and approach the rear of Nicole's car.  
One checks the license plate and nods, while the other goes up  
to the driver's-side window and raps on it. Nicole starts  
awake, then winces, touches the bruise on her forehead, and  
finally rolls down the window.

NICOLE  
(weakly)  
Yes, Officer?

OFFICER #1  
Excuse me, Ma'am. Are you all  
right? You seem to have had a  
little accident.

Nicole rubs her head woozily.

NICOLE  
Yeah, I had a run-in with a couple  
bottles of '61 Chteau Latour.

OFFICER #1  
Ma'am—are you Nicole Julian?

With an effort, Nicole focuses on him.

NICOLE  
(weak, but annoyed)  
Yeah...I'm Nicole Julian. What's  
it to you, Dudley Do-Right?

Meanwhile, the other police officer walks onto the collapsed  
fence, examining the car.

OFFICER #1  
Ma'am, could you step out the car,  
please?

NICOLE  
(groaning)  
Can't you just write a ticket, and  
call a tow truck?

OFFICER #1  
(firmly)  
Miss Julian, I really need you to  
step out of the car.

NICOLE  
Oh, all right...!

Grudgingly, Nicole unsnaps her shoulder belt, throws the door  
open, and climbs awkwardly out of the car.  
The officer takes hold of her arm, and looks over to his  
colleague, who is bent down, closely studying the damaged  
right front end of the car. He straightens up, and nods.

OFFICER #2  
Better get the lab boys down here.

The first officer takes his handcuffs and cuffs Nicole's hands  
behind her back.

OFFICER #1  
Miss Julian, you're under arrest.

NICOLE  
(scowling)  
What? Aw, come on—is this  
because of the Dudley Do-Right  
crack?

The officer leads Nicole away towards his cruiser.

NICOLE (CONT'D)  
(screaming)  
Oh, are you two gonna be in  
trouble! When my mother finds out  
how I'm being treated...!

CUT TO:

INT. A JAIL CELL - LATER

Nicole gets pushed into the cell.

NICOLE  
(indignant)  
Hey! Where's my phone call?

She grabs the bars as the door slams shut.

NICOLE (CONT'D)  
I WANT A LAWYER!

BLACK OUT.

**END OF ACT ONE**


	3. Act Two

**ACT TWO**

EXT. BOBBI GLASS' HOUSE

Josh and Lily are both on their hands and knees, working on  
the yard and sweating under the morning sun, when Sam comes  
walking up.

LILY  
Sam!

Josh and Lily both get up and run over to Sam; Lily hugs her.

JOSH  
How's Brooke?

SAM  
She's not any better, but she's  
not any worse, either. Guys—  
(gesturing around)  
—what are you doing?

JOSH  
Oh, we have to do this for ten  
hours a week. It's part of the  
lease.

As Sam shakes her head in disbelief, Miss Glass comes on onto  
the porch, holding a tall glass.

GLASS  
Hey! Yo kids—quit goofing off and  
get back to work!

Sam steps around Lily and advances up the walk towards Miss  
Glass.

SAM  
Miss Glass, you can't do this!

GLASS  
McPherson—I'm surprised to  
see you here.

SAM  
Miss Glass—you can't turn your  
tenants into your own personal  
house workers. It's wrong.  
What's more, it's illegal.

Lily runs up to Sam's side.

LILY  
(whispering)  
Sam, what are you doing?

Sam doesn't seem to hear her.

GLASS  
Oh, so you're a lawyer now?

SAM  
My mom IS in real estate. I know  
a little something about how  
leases work.

GLASS  
Look, McPherson, not that I'm  
unsympathetic to your current  
plight—but keep your nose out of  
other people's beeswax!

Sam squeezes her eyes shut for a moment.

SAM  
Miss Glass—my sister is in the  
hospital, and there's a really  
good chance she could die; and I  
just found out that two of my good  
friends have been duped by you  
into becoming house slaves. So,  
as you can imagine, I am NOT IN A  
VERY GOOD MOOD RIGHT NOW!

GLASS  
(mocking)  
Ooh, maybe someone should get a  
prescription for Prozac while  
she's at the hospital.

SAM  
Or maybe someone should call the  
county and get a housing inspector  
to come around here!

Lily tugs on Sam arm, futilely.

LILY  
(urgently)  
Sam! Stop it!

GLASS  
(glowering)  
Well, maybe I should TEAR UP that  
lease, if it bothers you so much!

JOSH  
No, Miss Glass—

SAM  
They'd certainly be better off!

GLASS  
Fine!

She disappears into the house for a second, then re-emerges  
holding the lease. As Josh and Lily frantically try to wave  
her off, she rips the paper in two.

GLASS (CONT'D)  
There!  
(pointing at Lily)  
You two—I want you packed and out  
of here by the end of the day!

She storms back into the house and slams the door shut.

JOSH  
Aw, man, now what are we gonna do?

Lily turns on Sam, stunned.

LILY  
Sam! I can't believe you just did  
that!

SAM  
You'll find a better place.  
Someplace where you don't have to  
pick up leaves, and have Frau  
Glass giving you orders.

LILY  
(miserably)  
We don't have any money, Sam. We  
can't afford any other place.

SAM  
Yes, you can.

Sam reaches into her bag, pulls out an envelope and gives it  
to Lily. She opens it, starts to pull out a check—and goggles  
at the sight of it.

LILY  
Oh, my GOD—

Josh looks over Lily's shoulder at the check, and whistles  
appreciatively.

LILY (CONT'D)  
What—how—how did you—?

SAM  
It's...my college fund.

LILY  
Oh—no, no...

Lily thrusts the envelope back at Sam, who steadfastly refuses  
to take it.

LILY (CONT'D)  
There is just no way we can take  
this!

SAM  
Look, I'm not going to need it for  
at least a year. I know all you  
two need is a chance to get on  
your feet, and this is it.

LILY  
Sam, NO...

Sam takes Lily by the shoulders.

SAM  
You have to. Please... I HAVE  
to do this.

Lily shakes her head, uncomprehending.

SAM (CONT'D)  
(tearing up)  
I have to... I have to be able  
to do something, and—and make  
something better... Please, you  
HAVE to let me do this...

Finally Lily nods, sniffling a little herself.

JOSH  
We'll pay you back, every penny. I  
swear.

SAM  
(wiping her eyes)  
I know.

Lily turns to Josh.

LILY  
Baby, I'll pack—you go and be with  
Brooke.

JOSH  
(nodding)  
I'll be back in a little while.

Lily hugs Sam tightly.

LILY  
Thank you SO much...

Josh leans over and kisses Lily before walking away with Sam.  
Lily watches them go, smiling and hugging herself.

DISSOLVE TO:

EXT. A COUNTRY LANE - DAY

Brooke is strolling down the middle of this dusty dirt road,  
as Clarence follows, rubbing his hand through his hair.

CLARENCE  
I am sure there's a rule against  
pouring sand on your spiritual  
guide's head.

BROOKE  
(unrepentant)  
I told you not to push me high.

CLARENCE  
How can you be afraid of swinging?

BROOKE  
I'm not afraid, I just—don't care  
for it, that's all.

She stops walking, and looks around.

BROOKE (CONT'D)  
Well—THIS is the middle of  
nowhere.

Clarence surveys the scene as well.

CLARENCE  
Yeah, we do seem to have gotten  
off the beaten path.

BROOKE  
Any idea why?

Clarence shrugs.

BROOKE (CONT'D)  
(rolling her eyes)  
Of course not...

CLARENCE  
Hey, what do I look like, a map?

BROOKE  
Map, guide...what's the  
difference?

CLARENCE  
Plenty, let me tell you.

BROOKE  
Please... So, where are we,  
anyway?

CLARENCE  
Well, technically, we're in the  
same place we were before. It  
just looks different.

She narrows her eyes at him.

BROOKE  
I really think I'm gonna stop  
talking to you.

A noise makes Brooke turn off the road and up a driveway. She  
sees, standing under a tree, a horse, saddled and ready to  
ride. Breaking into a grin, she runs up to it and pets its  
head.

BROOKE (CONT'D)  
(soothingly)  
Hey there, boy... What are you  
doing here?

Clarence comes jogging up.

CLARENCE  
Uh, Brooke...

She grabs the saddle and lifts herself up onto the horse's  
back.

CLARENCE (CONT'D)  
...that's not a good idea—

But she has already put her feet in the stirrups and grabbed  
the reins. With a jerk, the horse takes off, galloping across  
the road and into the rolling fields beyond.

CLARENCE (CONT'D)  
Brooke, WAIT!

Clarence runs after her for a moment, then spreads his arms  
and looks heavenward. There is a clopping noise behind him,  
and another horse appears.

CLARENCE (CONT'D)  
THANK you.

He leaps onto the horse and gallops off after Brooke.

CUT TO:

INT. JOSH AND LILY'S APARTMENT

Lily is finishing the job of packing what little there is in  
their soon-to-be ex-apartment. Miss Glass comes down the  
stairs.

GLASS  
Yo, Esposito—ah, sorry—I mean,  
Ford.

LILY  
Actually, I'm thinking of Esposito  
Ford... I haven't decided.

GLASS  
Sure, why not, make things as  
complicated as possible.

LILY  
(tiredly)  
Miss Glass...

GLASS  
You know...I could go easy on the  
yard work.

LILY  
(shaking her head)  
It's not that... Well, it is,  
but... This just isn't a good  
idea, Miss Glass.

Miss Glass sits down on the sofa, and pats the seat next to  
her. Lily comes over and obediently sits next to her.

GLASS  
I'm only hard on you because—well,  
it's my primary form of  
entertainment that doesn't involve  
tubs of Tropical Fruit Jell-o—but  
also because...I think you're  
making a terrible mistake.

LILY  
I know. And I know you won't  
believe me when I say that we  
really aren't.

GLASS  
You think I haven't been where you  
are? Believe me, I have...

DISSOLVE TO:

FLASHBACK

INT. SCHOOL HALLWAY - A LONG TIME AGO

An incredibly corny, PSA-type flashback, with a teenaged Bobbi  
Glass standing by the lockers, next to the most stereotypical  
"bad boy" Lothario imaginable.

GLASS  
Oh, Shane, when you hold me, my  
heart pounds like the pistons of a  
'67 Chevy!

SHANE  
Baby, let's get married. We'll  
drop out, jump on the back of my  
hog and go riding off into the  
wild blue yonder!

GLASS  
Oh, but, we don't have any money,  
and no decent job prospects! How  
would we live?

SHANE  
We don't need money to live,  
Bobbi. We'll live free on the  
open road!

GLASS  
I'm sorry, but I'm just not ready  
for marriage. I want to complete  
my education, and get a good,  
solid job.

DISSOLVE TO:

JOSH AND LILY'S APARTMENT

LILY  
Wow. What happened?

GLASS  
(shrugs)  
He left. Then he drove his hog  
into a bank vault in Sacramento.  
Twenty years in Folsom.

LILY  
Oh.

Lily gets up.

LILY (CONT'D)  
(confidently)  
Well, Josh and I aren't going to  
let anything like that happen to  
us. And we aren't dropping out,  
either. We're both gonna  
graduate—no matter what.

CUT TO:

EXT. A ROCKY GORGE - TWILIGHT

Brooke is riding along this shadow-laden gorge, which opens  
out onto an immense, barren, empty desert. She pulls up short  
at the edge of a wide, shallow stream which lies across her  
path. She looks around, disoriented by the harsh  
surroundings. Then she hears a bitter, cutting laugh. She  
looks ahead again, and sees someone standing nonchalantly on  
the opposite side of the creek, arms crossed—a figure who  
wasn't there a moment before.

NICOLE  
(contemptuously)  
Well, well, well...look what the  
cat dragged in.

CUT TO:

INT. AN INTERVIEW ROOM

A typical interview room, with a large two-way mirror along  
one wall. Detective Cavanaugh is sitting at the room's sole  
table when the door opens and Nicole is led in.

CAVANAUGH  
(standing)  
Miss Julian. I'm Detective  
Cavanaugh.  
(gestures at a chair)  
Please.

Nicole throws up her hands.

NICOLE  
Finally—someone who can tell me  
what the HELL is going on around  
here!

CAVANAUGH  
Please—have a seat. You did have  
a phone call?

Nicole just stands with her hands leaning on the back of the  
chair.

NICOLE  
(annoyed)  
Yes—finally.

CAVANAUGH  
(sitting)  
You do realize that you don't have  
to talk to me without a lawyer  
present.

NICOLE  
I'm sure my mother's lawyer is on  
his way. Not that I NEED him for  
anything! Except maybe filing a  
police harassment suit.

CAVANAUGH  
Does this mean that you're waiving  
your right to have an attorney  
present?

NICOLE  
(sighing theatrically)  
Fine, fine! Consider it waived—if  
it'll get you to start explaining!

CAVANAUGH  
Well—

NICOLE  
I mean—so I got drunk, and I drove  
my car into a fence. Fine me,  
send me to traffic school,  
whatever. What is this, a  
political thing? Is it "Crack  
Down on Teenage DUI Week"?

CAVANAUGH  
Um, Miss Julian, I think there's  
been a misunderstanding here—

NICOLE  
(throwing up her hands)  
Finally—that's what I've been  
saying!

CAVANAUGH  
Miss Julian—the charge you've been  
arrested on is attempted murder.

Nicole just gawks at him.

FADE OUT.

**END OF ACT TWO**


	4. Act Three

**ACT THREE**

FADE IN:

INT. INTERVIEW ROOM - CONTINUOUS

Nicole leans over the table threateningly.

NICOLE  
Okay—if that's some kind of sick  
joke, I'm gonna have your badge.

CAVANAUGH  
It's a shield, not a badge. And  
it's not a joke.

NICOLE  
(laughs shortly)  
You think I tried to KILL  
somebody? Look, I'm no saint—but  
that's just crazy.

CAVANAUGH  
Of course, murder charges are  
pending, if your victim doesn't  
make it.

NICOLE  
Okay, I get it—I'm on some kind of  
"Candid Camera" show, right? I'm  
supposed to get all broken up,  
while everybody laughs. Well,  
it's not gonna work, so you can  
just dropped the act.

She starts looking around for hidden cameras.

NICOLE (CONT'D)  
(waving)  
Hellooo! Okay, game over...find  
someone else to play with!

Finally she folds her arms and leans against the wall, staring  
him down defiantly.

CAVANAUGH  
(referring to his notes)  
Just for the record—you're denying  
that, at approximately 7:40  
yesterday evening, outside the  
Moonlight Cafe, you deliberately  
struck Brooke McQueen with your  
car?

For the first time, some of the smugness drains out of  
Nicole's face.

NICOLE  
(nonplussed)  
What?

CAVANAUGH  
We have several witnesses at the  
scene who say that the driver of  
the hit-and-run vehicle  
deliberately aimed for Miss  
McQueen.

NICOLE  
(hollowly)  
Brookie?

CAVANAUGH  
(continuing)  
The car's description matches  
yours. Two witnesses gave us  
partial license plate  
numbers—which also match yours.  
We have a statement from Miss  
McQueen's father that you went to  
her house and made threats against  
her shortly before the crime. And  
we have blood and fibers from your  
front grille which are being  
tested right now.

Hearing all this, Nicole has descended into total shock.

NICOLE  
(alternating between confusion and  
suspicion)  
No... B.? But—that...  
No—no—it's a lie. You're lying to  
me. This is all some kind of  
twisted mind-game.

The door bursts open and a well-dressed man comes rushing  
through.

DEVENPORT  
(self-importantly)  
Michael E. Devenport, Esquire.

He glances over at Nicole, who is shaking and hugging herself  
tightly.

DEVENPORT (CONT'D)  
What do you think you're doing,  
talking to my client alone?

CAVANAUGH  
Your client waived her right to  
have counsel present. For the  
record, she didn't volunteer  
anything substantive, Mr.  
Davenport.

DEVENPORT  
It's Devenport. With an "E".

Cavanaugh shrugs indifferently.

DEVENPORT (CONT'D)  
She's a minor. Her mother or  
myself should have been present.

CAVANAUGH  
She's seventeen. She'll be  
charged as an adult.

DEVENPORT  
(loftily)  
Assuming that there's anything to  
charge her with at all.

A clerk steps through the open door, and stays long enough to  
hand Cavanaugh an open folder. He peruses it for a moment,  
then looks up at Devenport.

CAVANAUGH  
The blood and fibers on the car  
came back as a perfect match for  
the victim's blood and dress.  
Tell your client the D.A.'ll be  
charging her—attempted murder.  
She'll be arraigned on Monday.

Cavanaugh brushes past Devenport and walks out, closing the  
door behind him.

CUT TO:

EXT. THE DESERT

Brooke is sitting on her horse, staring at the form of Nicole.

NICOLE  
Whatsa matter? Surprised to see  
me?

Brooke's face darkens as she glowers at her.

NICOLE (CONT'D)  
(mocking)  
Is that hostility I sense?  
(beckons)  
You wanna piece of me? Come  
on...

Brooke lifts up the reins and starts to guide her horse into  
the water when, from behind her—

CLARENCE  
BROOKE! WAIT!

Clarence comes galloping up full tilt.

CLARENCE (CONT'D)  
BROOKE! STOP!

He pulls up alongside Brooke and grabs her arm, pulling her  
back.

BROOKE  
What is it?

CLARENCE  
(urgently)  
Don't cross the water. That's  
what she wants.

Brooke sticks her thumb in that direction.

BROOKE  
What's SHE doing here, anyway?

CLARENCE  
She isn't, really. The water's a  
boundary—the other side isn't  
"here". And that's not really  
Nicole. It's Evil.

BROOKE  
So, it's evil. How is that not  
Nicole?

CLARENCE  
No, I mean REALLY Evil.

BROOKE  
(shrugging)  
Again...?

CLARENCE  
Brooke, listen to me. I'm talking  
about THE Evil.

BROOKE  
(eyes wide)  
Ohhhh...

Meanwhile, "Nicole" is still posing arrogantly on the far side  
of the stream.

NICOLE  
(tsking)  
Sending a boy to do a man's  
job... You must be REALLY low on  
the popularity scale here, it THIS  
is the best She could do for you.

CLARENCE  
Hey!

NICOLE  
I feel sorry for you, Brooke...  
With the kind of advice you're  
getting, you'll be figuring out  
your destiny for centuries.

BROOKE  
(coldly)  
You know...whoever you are...you  
picked the wrong person to look  
like. Because I don't need to  
listen to Nicole anymore.  
(to Clarence)  
Come on. I don't like this place.

Brooke turns her horse around, and heads back the way she  
came. Clarence throws a gloating look across the stream  
before following.

CUT TO:

INT. HOSPITAL CORRIDOR - LATER

Sam is sitting on one of a line of seats along the corridor  
wall. Harrison comes up, hands her a bottle of water, and  
sits down next to her.

SAM  
Thanks.

For a few moments, they just sit there, side by side.

HARRISON  
Sam... About...last night...

Sam sighs.

SAM  
You were right. I was... Thank  
you. For...well...you know.

HARRISON  
(laughs self-consciously)  
It wasn't easy.

There is another long, awkward silence, and then:

HARRISON (CONT'D)  
Sam—what did you mean, last night?

SAM  
What?

HARRISON  
You said...I wasn't the first guy  
to make it to your bed and then  
stop.  
(pause)  
Did you and George...?

She groans, and buries her face for a moment.

SAM  
(wincing)  
Yes?

Harrison looks away.

SAM (CONT'D)  
We—we didn't...

HARRISON  
George...stopped. You...wanted  
to?

Sam hangs her head before biting the bullet.

SAM  
(sighing)  
Yes.

HARRISON  
Oh. Well...

SAM  
Harrison, it was before you  
dropped your bombshell—I had NO  
idea how you felt.  
(pause)  
I really thought George was the  
one.

HARRISON  
(guiltily)  
I'm sorry, I shouldn't... It's  
just—hard.

Sam shakes her head and rubs her eyes, blowing out her breath.

HARRISON (CONT'D)  
What?

SAM  
I can't believe...I look back, at  
all the things you did, all the  
times you were there, right with  
me... I just can't believe I  
didn't see it.

HARRISON  
(spreading his hands)  
Hey, I WAS trying to keep it a  
secret.

SAM  
Still.

Harrison is about to say something else when his cell phone  
goes off. He plucks it out of his pocket and opens it.

HARRISON  
(into the phone)  
Hello?... Oh, uh-huh... WHAT?

His face twists in surprise, while Sam looks at him  
expectantly.

HARRISON (CONT'D)  
(into the phone)  
Ah, y-yeah... Thanks...

Harrison closes the phone numbly.

SAM  
What?

HARRISON  
(regrouping)  
That was the detective—ah,  
Detective Cavanaugh.

Sam clutches his arm.

SAM  
Oh, my God...they caught  
somebody?

HARRISON  
(disbelieving)  
Yeah—they arrested NICOLE.

Sam gasps, her mouth dropping in shock.

FADE OUT.

**END OF ACT THREE**


	5. Act Four

**ACT FOUR**

FADE IN:

INT. AN EMPTY APARTMENT - EARLY MONDAY MORNING

The front door opens, and a real estate agent leads Josh and  
Lily inside. They look around, seeming to be slightly  
overwhelmed.

JOSH  
Wow—this is bigger than my mom's  
place.

Lily snuggles up to him.

LILY  
It's perfect.

AGENT  
(perkily)  
Of course it is. This is the  
ideal unit for young newlyweds  
just starting out. Now, I just  
need your signatures...

JOSH  
Look, are you sure there aren't  
some forms or something we have to  
fill out?

AGENT  
(with a dismissive gesture)  
If Jane McPherson says you're  
okay, you're okay.

She hands them a clipboard.

AGENT (CONT'D)  
(pointing)  
If you would just sign there...

Still a bit dazed, Josh and Lily sign the papers and hand the  
clipboard back.

AGENT (CONT'D)  
Fine... Now, I'm going to need a  
check for the first and last  
month's rent, plus the deposit.

Josh and Lily look at each other, their grins vanishing.

JOSH  
Oh—

LILY  
(embarrassed)  
Our checking account's brand  
new—could we get you a money order  
instead?

AGENT  
Of course—drop it by the office  
before five?

LILY  
Great.

The agent hands over a key ring.

AGENT  
Well, here are the keys... The  
electricity and gas are already  
on, and someone should be by to  
hook up the phone before lunch.

With that, the agent heads for the door.

LILY  
Thank you so much.

JOSH  
Yeah—thanks.

AGENT  
You two look like you're going to  
be very happy here.

JOSH  
Oh, we are.

After the agent leaves, Lily turns and jumps into Josh's arms.

LILY  
Baby, we did it!

JOSH  
(grinning)  
Yeah, and no Miss Glass.

Lily disengages herself, looking around.

LILY  
Wow...I don't even know what to do  
first.

JOSH  
Oh, that's simple. You go to  
school, and I'll get our boxes out  
of Sam's garage.

LILY  
Oh, baby, I don't want you to do  
that all by yourself!

JOSH  
It's okay, really. I can handle  
it. Besides, it's almost finals,  
and you need to study.

LILY  
Josh, you need to study, too.

JOSH  
It's more important for you—and  
I'm not being...uh...

LILY  
Self-depreciating?

JOSH  
Yeah, I'm not being that. Look,  
Lily, I know how I'm gonna do on  
the finals whether or not I miss a  
day of school. You're the one who  
has to do good on your  
finals—you're the brains of this  
family.

LILY  
Josh...

JOSH  
(playfully)  
Gorgeous, sexy, brains...

LILY  
(laughing)  
Okay, okay...

She takes one of the keys off of the ring and hands it to him.

LILY (CONT'D)  
One for you, one for me.

Josh holds up the key and examines it.

JOSH  
My own key to my own place...  
Hey, isn't your car over at  
Sam's, too?

LILY  
Oh, right... Hmm, maybe my  
husband will give me a ride over  
there.

JOSH  
(wagging his eyebrows)  
"Husband"...I like the sound of  
that.

Arm in arm, they head for the door.

LILY  
I'll come back at lunch.

JOSH  
It's a date...

CURTAIN CUT TO:

INT. SCHOOL HALLWAY - LATER

Carmen is at her locker when Lily walks up to her.

LILY  
Hey, Carm.

CARMEN  
(closing her locker)  
Hey, I heard you were getting a  
new place?

LILY  
(gushing)  
We got the keys this morning.  
It's just PERFECT...Josh is moving  
everything in today.  
(grimaces)  
I still feel guilty about taking  
Sam's money, though.

CARMEN  
Well, next to you she's the most  
stubborn person I know, so I don't  
think you could've stopped her.

With a shrug, Lily concedes that point.

CARMEN (CONT'D)  
Hey, did you hear—it was NICOLE  
that ran down Brooke!

LILY  
Yeah, I heard in the parking lot!  
I just—I can't believe it. I  
mean, I knew Nicole was rotten,  
but...I never thought she'd try to  
KILL someone.

CARMEN  
Yeah, between her and Mary Cherry,  
it's a miracle we're still alive.

LILY  
(confused)  
Wait—what about Mary Cherry?

CARMEN  
You haven't heard? She went  
totally psycho! Started  
hallucinating and everything.  
Word is, she's locked up in the  
loony ward at the hospital.

LILY  
(shaking her head)  
Huh—that doesn't sound like Mary  
Cherry. I mean, she's a little  
off, but...

CARMEN  
(nods knowingly)  
We're lucky she didn't go off and  
shoot up The Novak or something.

LILY  
(thinking)  
Carmen—are you visiting Brooke  
today?

CARMEN  
Yeah, in fact, I'm gonna cut  
history and go right now.

LILY  
Good. I need you to do me a  
favor.

CUT TO:

INT. AN INTERVIEW ROOM

A smaller room, with no mirrors. Nicole is sitting in a  
wooden chair, hugging her knees to her chest, while Devenport  
paces around.

DEVENPORT  
All right, one more time. The  
last thing you remember is...?

NICOLE  
(listlessly)  
I remember...getting in the car.

DEVENPORT  
And you don't remember stopping at  
Brooke McQueen's house, or  
speaking with Mike McQueen?

NICOLE  
(cocking her head)  
Wait—

FLASHBACK

Two or three momentary fragments of Nicole in the McQueen  
kitchen.

NICOLE (CONT'D)  
(squeezing her eyes shut)  
I think—I remember talking to  
Brooke's dad...maybe...I don't  
know.

DEVENPORT  
But you definitely don't remember  
driving to the Moonlight Cafe?

Nicole shakes her head mutely.

DEVENPORT (CONT'D)  
The next thing you DO remember  
is...?

NICOLE  
It was morning, and this cop was  
banging on the window.

He stops to jot some notes down on a legal pad on the table.

DEVENPORT  
All right. The arraignment is  
simple.  
You appear before a judge, you  
plead "not guilty" and we get a  
trial date. Now, it's a little  
early to be talking about  
defensive strategy, but I think I  
can get this reduced to vehicular  
assault—and I think I have a good  
shot of convincing a jury to  
acquit you even of that.

NICOLE  
(numbly)  
Fine. Whatever.

DEVENPORT  
Look, Nicole, I know how you must  
feel, but—

NICOLE  
(looking up)  
Excuse me? You know how I feel?

She stands up, sending the chair flying back.

NICOLE (CONT'D)  
How could you possibly KNOW HOW I  
FEEL?

DEVENPORT  
Ah, Nicole—

NICOLE  
(pacing)  
Brooke...she sided with that—that  
sniveling, little brown-haired  
BITCH over me...her best  
friend... Trying to make some  
kind of 90's-sitcom FAMILY with  
her... And then she poisoned my  
prom date...convinced him to dump  
me... I was ROYALLY PISSED OFF  
at her!

DEVENPORT  
I think we would be much better  
off not bringing this up in court.

Nicole holds out her hands, pleading.

NICOLE  
(plaintively)  
It didn't MEAN anything! Do you  
know how many times B. and I have  
been pissed as hell at each other?

Finally coming to rest against the corner of the room, she  
slides down the wall until she is sitting on the floor,  
crossing her arms on her knees and burying her head in them.

NICOLE (CONT'D)  
(crying)  
I wanted to hurt her. I didn't  
want to kill her.

CUT TO:

INT. JOSH AND LILY'S APARTMENT - NOON

The apartment looks homier but distinctly under-furnished,  
populated mostly by boxes. On one table is the phone; Josh is  
in the middle of a conversation.

JOSH  
(on the phone)  
...no... Yes, I got it... No,  
not yet... Look, I just need  
more time, okay?

The front door opens.

JOSH (CONT'D)  
(into the phone)  
I gotta go.

Josh hurriedly hangs up the phone as Lily walks in.

JOSH (CONT'D)  
Hey, baby!

LILY  
Hey...!  
(looking past him)  
We have a phone?

JOSH  
(following her gaze)  
Yeah, it works and everything.  
Oh—I have a surprise. Wait here.

Josh disappears through into the kitchen. Lily wanders over  
to the table, where a pile of old mail is scattered. Idly she  
leafs through the envelopes, then looks curiously at one,  
flipping it open and pulling out the contents.

ANGLE: THE KITCHEN ENTRYWAY - MOMENTS LATER

JOSH (O.S.) (CONT'D)  
Look, I don't want you to, you  
know, get your hopes up or  
anything, but...

Josh appears in the entryway, holding a makeshift tray with  
plates of sandwiches on it.

JOSH (CONT'D)  
I actually fixed lunch!

He stops short when he sees Lily standing there, glaring at  
him and holding up the envelope and letter.

LILY  
(accusingly)  
What is this?

JOSH  
(grim-faced)  
Lily...

LILY  
(injured)  
How could you keep something like  
this from me?

CUT TO:

INT. HOSPITAL CORRIDOR

A corridor in the psych ward, where Carmen is tiptoeing from  
doorway to doorway—much like Wile E. Coyote.

CARMEN  
(muttering under her breath)  
Man, I can't believe I'm doing  
this...

Suddenly, she sees two doctors coming down the hall, and  
quickly ducks into a side room.

DOCTOR #1  
Anything come back on Mary Cherry  
yet?

DOCTOR #2  
Inconclusive. They'll probably do  
a frontal lobotomy on her.

DOCTOR #1  
Ouch. Isn't that extreme?

DOCTOR #2  
It'll put her in an institution  
for the rest of her life. But,  
hey, her mother's loaded.  
(wagging his eyebrows)  
Can you say "unlimited funding"?

Both doctors laugh, and move off down the corridor. Behind  
them, Carmen emerges, mouth agape.

FADE TO BLACK.

**END OF ACT FOUR**

**THE END**


End file.
